A rediscovered portrait of Henrietta-Anne of England:

music, portraiture, and the arts at the Court of France

Florence Gétreau

To cite this version:

Florence Gétreau. A rediscovered portrait of Henrietta-Anne of England: music, portraiture, and the
arts at the Court of France. Imago Musicae , Libreria Musicale Italia, 2014, XXVI - 2013, pp.7-45.
�halshs-00947332�

HAL Id: halshs-00947332

https://halshs.archives-ouvertes.fr/halshs-00947332
Submitted on 4 Jul 2016

HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est

archive for the deposit and dissemination of sci-
entific research documents, whether they are pub-
lished or not. The documents may come from
teaching and research institutions in France or
abroad, or from public or private research centers.
destinée au dépôt et à la diffusion de documents
scientifiques de niveau recherche, publiés ou non,
émanant des établissements d’enseignement et de
recherche français ou étrangers, des laboratoires
publics ou privés.


IMAGO MUSICAE   XXVI • 2013

IMAGO MUSICAE
XXVI • 2013

1
ISSN •  0255-8831
€  80.00 ISBN •  978- L•I•M Libreria•Musicale•Italiana

Cover.indd 1 07/01/2014 15:58

 Florence Gétreau

A rediscovered portrait of Henrietta-Anne of England:

music, portraiture, and the arts
at the Court of France*

1. Mysteries of a portrait: the music, the model, the painter

A few years ago, I had the good fortune to discover this portrait of a woman hold-
ing a songbook (fig. 1) kept in the Bouges castle (Indre).1 The painting represents a young
lady richly adorned, facing three quarters right. She holds a book of vocal music, point-
edly showing the open page to the spectators. In the upper left corner of the musical score
is the name “Mr. Lambert” (fig. 2).

fig. 1: Jean Nocret (?) Portrait of Henrietta-Anne of

England, Duchess of Orléans (?).
Oil on canvas, 1668 (?). Castle of Bouges (Indre).
Photo: © Centre des Monuments nationaux

fig. 2: Painted music score with air by Michel Lambert,

J’avais déjà passé près d’un jour. Detail of fig. 1.
Photo: © Centre des Monuments nationaux

* Revised version of my contribution to the Mélanges Massip (Gétreau 2012). Translation by Frederick
Hadley. A preliminary report has been presented at the international conference Le corti in Europa. 7
Iconografia musicale e potere principesco, 1400–1700, IMS Study Group on Musical Iconography in Eu-
ropean Art, in cooperation with Istituto per i Beni Musicali in Piemonte, Torino, 23–25 May 2011.
1 Inv. Bou1995100087. Oil on canvas, 86 x 70,5 cm. – The building was bequeathed in 1971 by Henri
Viguier to the Centre des Monuments Historiques.

01) Getreau.indd 7 06/01/2014 21:38

 In the following article I will reassess the findings that were published 2012 in an
homage to Catherine Massip and which have to do with the identification of the music
represented and the probable identities of the painting’s subject and author. But in this
Florence
article, I would also like to present a diversity of literary as well as figurative ‘images’,
Gétreau
according to which our protagonist is transformed into a ‘heroine’ and even into a daz-
zling ‘star’ of the Sun-King’s Olympus, 2 a kind of constantly renewed incarnation of
different mythological figures, and even deities.3

1.1. The music

The music and the words represented in the painting are legible, and it was easy to iden-
tify Michel Lambert’s air ‘J’avais déjà passé près d’un jour sans la voir’, which Catherine
Massip mentions several times in her book about the composer. 4 She points out that the
words were written by Matthieu de La Tuillière, and that Lambert’s air, dated to 1666, also
appears in the composer’s Livre d’airs published in 1689.
In her catalogue of Livres d’airs de différents auteurs published by Robert Ballard,
Anne-Madeleine Goulet lists seven different literary and musical versions of this piece
and notes that four of them include a second verse. In addition to providing an extreme-
ly detailed description of the work from both a literary and a musical point of view,
Goulet transcribes the poem’s two stanzas:5

J’avois déjà passé près d’un jour sans la voir,

Et ma raison flatoit mon cœur du vain espoir,
Que je vivrois ainsi le reste de ma vie:
Mais sur la fin du jour, j’ay rencontré Silvie,
Et malgré mon depit, & malgré sa rigueur,
Ses beaux yeux ont seduit ma raison, & mon cœur.

Mon cœur trop méprisé s’en plaignoit en tous lieux,

Et ma raison, d’un autre objet esperant mieux,
Me reprochoit le temps que je l’avois servie,
Mais sur la fin, &c.

The oldest known version of this air de cour (both words and music), printed by Ballard
in 1666 in the ninth Livres d’airs de différents auteurs, 6 is for one voice (G clef on the second
line) with a bass (F-clef on the third line) (fig. 3), and it features no bar lines.

2 Néraudau 1986.
3 For the metaphors of “Astre de la Cour” and “Heroïne” see below, notes 42 and 45.
4 Massip 1999: 158, 160, 161.
5 Goulet 2007: 434 (no. 1666-03). Translation: “I had already spent almost a day without seeing her,
and my reason flattered my heart with the vain hope that I would live thus for the rest of my life. But,
at the closing of the day, I met Silvie, and despite my disappointment and despite her strictness her
pretty eyes ensnared my reason and my heart. My too despised heart complained of it everywhere,
8 and my reason, hoping for better from another object, rebuked me for the time I spent serving her.
But in the end, etc.”
6 Ballard 1666, fols. 3v and 4r. Paris, Bibliothèque nationale de France, Département de la musique,
Rés. Vm7 284 [8]. Goulet 2007: 434 (no. 1666-03, source A); Guillo 2003: 628–9.

01) Getreau.indd 8 06/01/2014 21:38

 A rediscovered portrait of Henrietta-Anne of England

fig. 3: I’Avois déja passé prés d’un jour sans la voir. Ballard 1666, fol. 3r.
Photo: © BnF

That same year, Bertrand de Bacilly included these two stanzas of verse set to
an ‘Air de M. Lambert’ (fig. 4) in his Recueil des plus beaux vers mis en chant published by
Robert Ballard and Étienne Loyson, the second title page of which is Nouveau recueil 9

01) Getreau.indd 9 06/01/2014 21:38

 des plus beaux airs de cour, I.7 The volume was
dedicated to Christophe du Mesnil-Montmor,
Conseiller au Parlement. Christophe Ballard
published the song again in Airs de M. Lambert
à 1, 2, 3 et 4 parties, in 1689,8 this time in a ver-
sion for two voices with the continuo and in
a solo version also with bass ( fig. 5).
It is Ballard’s first version ( fig. 3) that
seems to be closest to the hand-written music
as represented in the Bouges painting. There
is nevertheless a general problem: apart from
“J’avois déjà passé pres d’” and “Mais”, the rest
of the text in the painting is not really reada-
ble, preventing thus a detailed understanding
of the differences between the two versions.
When comparing the depicted hand-written
version and the 1666 print, we also notice that
the disposition of the different staves is not
the same—the recto (which is invisible to the
spectator’s gaze) certainly transmits part of
the second stave of the vocal part.

1.2. The model

According to the documentation from the Cen-
tre des Monuments Historiques, this painting
fig. 4: I’Avois déja passé prés d’un iour sans la voir. Bacilly 1666: 210. comes from Pierre Mignard’s (1612–95) work-
Photo: © BnF
shop; it is dated from the end of the seven-
teenth or the early eighteenth century, and may represent the Duchess of Montpensier.
As we shall see, however, the author of the painting, its date and the identification of the
person represented must all be called into question.
There exist many effigies of Anne-Marie-Louise of Orléans, Duchess of Mont-
pensier (1627–93), also known as ‘La Grande Mademoiselle’, even from around the time
when Michel Lambert’s tune was composed, about 1666. One example is an engraving
executed in 1666 by Pierre Louis Van Schuppen (1627–1702) ( fig. 6) 9 after a painting
long thought to be a work of Pierre Mignard’s school but which has recently been at-
tributed to Gilbert de Sève (1615–98) (fig. 7).10 It shows, despite the painter’s efforts, that

7 Bacilly 1666: 210. Paris, Bibliothèque nationale de France, Département de la musique, Rés. Vm
Coirault-166. Goulet 2007: 434 (no. 1666-03, source B); Guillo 2003: 793 (RVC10) and 2004: 52–79.
10 8 Ballard 1689: 102–3. Paris, Bibliothèque nationale de France, Département de la musique, Vm7 509.
Massip 1999: 158; Goulet 2007: 434 (no. 1666-03, source C).
9 Versailles, Châteaux de Versailles et de Trianon, inv. LP 33-4.
10 Versailles, Châteaux de Versailles et de Trianon, inv. 6697, MV 3476. Bajou 1998: 100–1.

01) Getreau.indd 10 06/01/2014 21:38

 A rediscovered portrait of Henrietta-Anne of England

fig. 5: J’Avois déja passé prés d’un iour sans la voir. Lambert 1689: 103.
Photo: © BnF

11

01) Getreau.indd 11 06/01/2014 21:38

 Florence
Gétreau

fig. 6: Pierre-Louis Van Schuppen (after Gilbert fig. 7: Gilbert de Sève, Anne-Marie-Louise of Orléans,
de Sève), Anne-Marie-Louise of Orléans, Duchess of Duchess of Montpensier. Oil on canvas. Versailles,
Montpensier. Etching, 1666. Châteaux de Versailles et de Trianon.
Photo: © BnF Photo: © RMN, Daniel Arnaudet & Gérard Blot

by 1666 the princess was no longer in her prime

and that her features, though certainly noble,
were almost unattractive. A large painting real-
ized by Pierre Mignard’s circle, perhaps by Jean
Nocret, also represents her holding a portrait
of her father, Duke Gaston of Orléans ( fig. 8).11
An oil on canvas by Pierre Bourguignon (1630–
98) from around 1672, portrays her as Minerva
wearing a helmet with a sumptuous panache, a
grandiloquent protector of the arts who again
displays the oval portrait of her father.12
None of these four portraits bears any
fig. 8: Circle of Pierre Mignard (Jean
resemblance to the lady of the Bouges castle.
Nocret?), Anne-Marie-Louise of Orléans, Duchess of
Montpensier, holding the portrait of her father, Gaston The latter has brown eyes, whereas those of the
of Orléans. Oil on canvas. Museum of Trévoux, on
loan from Versailles, Châteaux de Versailles et de ‘Grande Mademoiselle’ were blue, as can eas-
Trianon.
Photo: © RMN, Daniel Arnaudet & Gérard Blot ily be seen in her authenticated portraits. Fur-
thermore, her features are much less graceful
and not as fine, and her gaze betrays nothing of the youth and vivacity of our model.
Admittedly, the links between the daughter of Gaston of Orléans and Michel Lambert
were numerous, as Catherine Massip (1995) has demonstrated. But surely Dominique
Brème is correct in his opinion that the Bouges painting does not represent the ‘Grande

12
11 Versailles, Châteaux de Versailles et de Trianon, inv. 6696. MV 2163. This portrait is kept at the mu-
seum of Trévoux.
12 Versailles, Châteaux de Versailles et de Trianon, MV 3504.

01) Getreau.indd 12 06/01/2014 21:38

 Mademoiselle’. Brème wondered in 2009 if it in fact portrays Henrietta-Maria of France
(Henriette-Marie de France, 1609–69), the sister of Gaston of Orléans, and wife of King
Charles I of England.13 A great many portraits of her have also been preserved. This sug-

A rediscovered portrait of Henrietta-Anne of England

gestion is interesting, given the greater resemblance seen for example in the two por-
trait miniatures kept at the Louvre museum ( figs. 9/10). However, the queen of England’s
age around 1666 (she was then fifty seven years old) cannot correspond to that of the
young woman depicted on our painting.

figs. 9/10: Anonymous English miniaturist, Henrietta-Maria of France.

Paris, Musée du Louvre, RF 30987 and RF 35731
Photos: © RMN, Gérard Blot

This age discrepancy accounts for my proposal that

the Bouges painting represents in fact her daughter,
Henrietta-Anne of England (Henriette d’Angleterre,
1644–70). She was regularly portrayed and, no matter
the author of the painting or engraving, the strong
resemblance with the Bouges model is readily observ-
able: Claude Mellan (1598–1688),14 Nicolas Mignard
(?) (1606–68),15 Jacques Grignon (c. 1640–after 1698;
(fig. 11),16 an anonymous author in 1663 (fig. 12),17 Gas-
pard (Caspar) Netscher (1639–84)18 and a member of
the workshops of either Jean Nocret (1617–72) or the

fig. 11: Jacques Grignon, Henrietta-Anne of England, Duchess

of Orléans. Engraving, after 1661.
13 Written statement, November 2009. Photo: © BnF
14 Préaud 1988: 126, no. 184 (first print).
15 Versailles, Châteaux de Versailles et de Trianon, MV 3502. Bajou 1998: 86–7.
16 Paris, Bibliothèque nationale de France, Département des estampes et de la photographie, N2. 13
17 Paris, Bibliothèque nationale de France, Département des estampes et de la photographie, N2, Fol.
Vol. 1410.
18 Chantilly, Musée Condé, inv. PE 142.

01) Getreau.indd 13 06/01/2014 21:38

 fig. 12: Anonymous, Henrietta-Anne of
England, Duchess of Orléans. Engraving, 1663.
Photo: © BnF

fig. 13: Workshop of Nocret or the Beaubrun brothers, Henrietta-Anne of England,

Duchess of Orléans, with her dog Mimy.
Oil on canvas, c. 1663. Versailles, Château de Versailles et de Trianon.
Photo: © RMN, Daniel Arnaudet & Gérard Blot

Beaubrun19 brothers (fig. 13)—all of these artists represented the princess’ features not
long after her wedding with the king’s brother, Philippe of Orléans. The resemblance with
her mother is striking, particularly the shape of the nose and mouth. Like her, she wears
a short pearl necklace, which she would keep all her life, and precious ear-pendants like
“grosses perles en poire”. 20 She is often represented with her little dog Mimy, who was so
famous that he is mentioned in Benserade’s 1666 libretto of the Ballet des Muses. 21

The last child of Charles I of England and Henriette Marie de France, Henrietta-Anne
was born in Exeter just after her mother had escaped the Parliament’s army. When she
was two years old, Henrietta-Anne joined her mother in France, where she received an
austere education at the Order of the Visitation of Holy Mary (Couvent des Visitandines)

19 Versailles, Châteaux de Versailles et de Trianon, MV 2083. Constant 1995, vol. 2: 685, no. 3854. At-
tributed to Jean Nocret. A replica of this painting can be seen at the National Portrait Gallery in
London, another is at Chantilly, Musée Condé. It is attributed to Pierre Mignard.
20 See the impressive list of jewels, rings, chains and necklaces in the inventory made after the prin-
cess’s death, dated February 16th, 1671 (Inventaire 1671, fols. 90–115).
14 21 “Qu’icy tous les respects les plus profons s’assemblent / Dans un cœur, un tel cœur n’en à pas à demy,
/ Tous les Loups tremblent devant Mimy*.” The explication to be found in the respective note (aster-
isk) reads as follows: “C’est le petit chien de Madame” (Benserade 1666: 33–4, “Vers sur la Personne &
le Personnage de ceux qui dansent au Ballet, IV Entrée. Berger, et Bergères. Pour Madame, Bergère”).

01) Getreau.indd 14 06/01/2014 21:38

 in Chaillot. She married Philippe of Orléans in the Palais-Royal in March 1661 and im-
mediately conquered the Court’s hearts with her beauty, her subtle mind, her taste for
the arts and her gift for conversation. The king, too, was very attracted to her, courted her

A rediscovered portrait of Henrietta-Anne of England

(in particular during the summer of 1661 in Fontainebleau) and often opened the Court
balls with her at his side. She served as an alibi for him when he fell in love with Mad-
emoiselle de La Vallière, one of her ladies-in-waiting, and visited the latter in her apart-
ments. Henrietta had an affair with Anthony III of Gramont, count of Guiche (1604–78)
who was quickly removed from Versailles and the Court in 1665. For her whole life, it
would prove difficult to quiet the various intrigues (and the flow of satirical writings
and songs) brought about by her youthful femininity, her power of seduction and her
probably frivolous behavior.
Many literary accounts cover her short existence. She died in July 1670 when she
was barely 26, not of poisoning—said to have been ordered by her jealous husband who
had little taste for women—but more probably of peritonitis. Madame de La Fayette’s
biography, Histoire de Madame Henriette d’Angleterre, written between 1665 and 1669, is
probably one of the most famous, reflecting their mutual great friendship and their
secrets. The famous writer praises the princess as well as her gift for pleasing, her grace
and her intelligence:22

Les charmes étaient répandus en toute sa personne, dans ses actions et dans
son esprit; et jamais princesse n’a été si également capable de se faire aimer des
hommes et adorer des femmes. 
En croissant, sa beauté augmenta aussi; en sorte que, quand le mariage du Roi fut
achevé, celui de Monsieur et d’elle fut résolu. Il n’y avait rien à la Cour qu’on pût
lui comparer.

The author confirms the king’s fondness for his sister-in-law, who returned his affection:23

Comme ils étaient tous deux nés avec des dispositions galantes, qu’ils se voyaient
tous les jours, au milieu des plaisirs et des divertissements, il parut aux yeux de
tout le monde qu’ils avaient l’un pour l’autre cet agrément qui précède d’ordinaire
les grandes passions.

Madame de La Fayette gives us also a subtle chronicle of the princess’ feelings and of the
Court’s intrigues and distractions. Her closeness to the king is confirmed by the royal al-
manacs of 1667 and 1670, in which Henrietta appears next to her husband, always in the
second row, but very close to the king and queen. In the almanac for the leap year 1668,
which celebrates with a concert of nations La Glorieuse Campagne de l’année M.D.C.67, Hen-

22 La Fayette 1720: 38 (1988: 38–9). Translation: “Charm was spread throughout her person, was in
her actions and her mind; and never was a princess so able to make herself both loved by men and
adored by women. As she grew up, so did her beauty grow; in such a way that when the king’s wed-
ding was over, it was decided that she should marry his brother. There was nothing in the Court that
could be compared to her.”
15
23 La Fayette 1720: 55 (1988: 45). Translation: “Because they were both born with gallant leanings, be-
cause they saw each other every day amidst pleasures and distractions, it was clear to all that they
had one for another that attraction which ordinarily precedes the greatest passions.”

01) Getreau.indd 15 06/01/2014 21:38

 fig. 14: La Glorieuse Campagne de l’année M.D.C.67. fig. 15: Portrait of Henrietta-Anne of England,
Royal almanac for the year 1668, etching. Duchess of Orléans. Detail of fig. 14.
Photo: © BnF Photo: © BnF

fig. 17: Portrait of Henrietta-Anne of England, Duchess of Orléans.

Detail of fig. 16.
Photo: © BnF

fig. 16: Estrene A Monseigneur le Dauphin / Minerve déesse

des Sciences Et des Vertus. Royal Almanac for the year 1670,
etching.
Photo: © BnF
16

01) Getreau.indd 16 06/01/2014 21:39

 rietta is placed immediately behind Queen Maria Theresa and the Dauphin (fig. 14). 24
With the exception of the king, she is the one who looks at the spectator with the most
intense gaze (fig. 15). In the 1670 almanac, entitled Estrene à Monseigneur le Dauphin or

A rediscovered portrait of Henrietta-Anne of England

Minerve déesse des Sciences et des Vertus, she is placed with her husband just behind the
easel on which Minerva is painting the king and several virtues (fig. 16). 25 Here again, the
spectator’s gaze focuses on her (fig. 17).

1.3. The painter

Having rejected Mignard’s authorship for the Bouges castle painting, or even that of his
close circle, Dominique Brème encourages us to search in the direction “d’un proche
de Jean Nocret, si ce n’est Jean Nocret lui-même” (see note 13). Nocret (1615–72) was
indeed first and foremost the royal family’s portrait painter and interior decorator: he
was responsible for the decoration of the queen’s home in the Tuileries between 1666
and 1669 (in which the Minerva iconography predominates) as well as the homes of the
king’s brother, Philippe of Orléans, and his wife, both in Saint-Cloud and at the Palais-
Royal. A biographical sketch in Guillet de Saint Georges’ (1624–1705) hand-written note-
book kept at the Académie de Peinture26 shows that Nocret was appointed to the office of
painter to the king and attendant in 1649. He was also painter and attendant to the Duke
of Orléans as well as financial supervisor for the home of Lady Henrietta of England.
Regarding his paintings for Saint-Cloud castle we read:27

En 1660 il peignit à Saint-Cloud cinq pièces de plain-pied, qui sont à présent

l’appartement de madame. Dans la première pièce, qui est un passage ou étoient
autrefois les bains, il fit au plafond le sujet d’Iris avec son arc-en-ciel et tous ses
accompagnements; dans l’antichambre, un tableau sur le sujet de Flore; dans la
chambre, un plafond où paroit le dieu Mars qui revient de ses conquêtes, accompa-
gné de Vénus; dans le grand cabinet, quatre tableaux. Le premier représente Thétis
qui fait forger les armes d’Achille par Vulcain; le second Persée et Andromède; le
troisième Apollon accompagné des neuf muses; le quatrième Diane sur un char.
Dans un grand salon, un plafond, où, sous des figures allégoriques, est représenté
le mariage de Monsieur avec feu Madame.

The allegorical figures representing the king’s brother and Henrietta’s wedding could
well be a now lost painting representing them as Diane et Endymion. 28 It echoes precisely

24 Paris: Balthazar Montcomet, rue Saint Jacques, 1668 (chisel, etching on copper). Paris, Bibliothèque
nationale de France, Département des estampes et de la photographie, Rés. Qb-201 (49), coll. Hennin
4467.
25 Paris: N. Regnesson, rue Saint Jacques (etching and chisel). Paris, Bibliothèque nationale de France,
Département des estampes et de la photographie, Rés. Qb-201 (50), coll. Hennin 4532.
26 Ed. by Dussieux 1854, vol. 1: 312–15.
27 Ibid., 314. Translation: “In 1660 he painted five ground floor rooms in Saint-Cloud which are now
Madame’s apartment. On the ceiling in the first room, which is a passage-way where the bath was
before, he took as subject Iris with her rainbow and all her following; in the anteroom, a painting
of Flora; in the bedroom, a ceiling where the God Mars returning from his conquests appears ac-
companied by Venus; in the grand cabinet, four paintings. The first represents Thetis who is having 17
Achilles’ weapons forged by Vulcan; the second Perseus and Andromeda; the third Apollo accompa-
nied by the Nine Muses; the fourth Diana on a chariot. In the great living room, a ceiling where the
wedding of Monsieur with the late Madame is represented with allegorical figures.”

01) Getreau.indd 17 06/01/2014 21:39

 Florence
Gétreau

fig. 18: Jean Nocret, Henrietta-Anne of England, Duchess of Orléans, as Allegory of Spring.
Oil on canvas, 1660, probably painted for Saint-Cloud castle.
Photo: Galerie Jean-Max Tassel, Paris

the 1661 Ballet des Saisons, for which Bensarade and Lully
chose the young couple. The subject of Flora could be
identified with an allegory of Spring (with Henrietta’s
unmistakable traits) that was shown at the Jean-Max
Tassel gallery in Paris in 1992 and at the Maastricht Eu-
ropean Fine Art Fair in 199329 (fig. 18). The other paint-
ing, of monumental proportions, was made by Nocret
only after the princess passed away (see below, fig. 35).
As a proof of Henrietta’s fondness for Jean No-
cret, we can see in the inventory made after the prin-
cess’s death30 (figs. 19/20) that he was among the credi-
tors who had not entirely been paid for their supplies:
“A Nocret son peintre la somme de neuf mil cinq cent fig. 19: Inventaire 1671,
detail of the binding spines.
trente livres” (fig. 21). Photo: © Gétreau,
by courtesy of Archives nationales

28 Oil on canvas, 94 x 120 cm. Its current location is unknown. See Brème 1997: 100. It can probably be
compared with the painting mentioned in the inventory after Henrietta’s death: “Un tableau repre-
18 sentan Monsieur et feue Madame en Diane et [Endymion] de trois pieds huit pouces de long sur
trois pieds de haut” (Inventaire 1671, fol. 322).
29 Advertisement in L’Estampille – L’objet d’art, May 1992: 15 (ill.).
30 Inventaire 1671, starting on February 16th.

01) Getreau.indd 18 06/01/2014 21:39

 A rediscovered portrait of Henrietta-Anne of England
fig. 20: Inventaire 1671, fol. 4, first page of the inventory.
Photo: © Gétreau, by courtesy of Archives nationales

fig. 21: Inventaire 1671, fol. 393,

amounts due to the painter Nocret.
Photo: © Gétreau, by courtesy of Archives nationales

The somewhat suave style and the undeniable elegance which characterize the paint-
er’s official portraits31 are not very different from the Bouges painting. In addition to
considerations of Nocret’s gallant, refined style, as well as his career (since the painter
dedicated nearly all his artistic output to members of the family of Orléans), another
19

31 “Mièvrerie courtisane”, to use Thierry Bajou’s term (1998: 124).

01) Getreau.indd 19 06/01/2014 21:39

 element argues in favor of such an attribution. Charles Robinet, the gazetteer who suc-
ceeded Jean Loret in May 1665, dedicated his February 11th, 1668 Lettre en vers à Madame
to a portrait of Her Highness painted by Nocret that he had just received from the model
Florence
herself (either as a real ‘gift’ or, more probably, handed over by Henrietta for the only
Gétreau
purpose to make him compose an eulogy on her beauty as mirrored in the canvas):32

Dans un Cadre poli, Cadre d’or fort luisant,

Ayant fait colloquer votre illustre Peinture,
Pour honorer ce cher Présent
Du plus digne Rival qu’on voye à la Nature,
Madame, avec respect, en m’inclinant tout bas,
Je demande audiance à ses rares Appas
Et commençant les Vers dont je vous doit l’offrande;
Et, semblant favorable à mes justes souhaits,
Voici comment je viens, belle Altesse, à peu prés,
De lui réciter ma légende

Merveilleux & charmant Portrait,

Fameux Ouvrage de Nocret,
Par qui, comme d’un autre Appelle,
Sa gloire doit étre immortelle,
Vôtre divin Original
A Samedy, donné le Bal
Dans sa magnifique Antichambre
[…]
Madame, voilà ma Légende,
Qu’à toute ouye, enfin, vôtre obligeant Portrait,
Avec attention si grande
Que j’en suis plus que satisfait […].

Robinet also mentions “éclatans Ornemens De

Perles & de Diamans”. 33 In this respect, what is
described as “Quatre vingt pierres de chaisne de
petits diamants a table et a facettes” in the Inven-
taire34 (fig. 22), perfectly corresponds to the diamond
necklace depicted in the Bouges portrait (see above,
fig. 1)¬at least more closely than to the painting in
fig. 22: Inventaire 1671, fol. 93, mention of jewelry.
Photo: © Gétreau, by courtesy of Archives nationales
Versailles that is sometimes attributed to the same
artist (see above, fig. 13). In any case, here is an attrac-

32 Continuateurs de Loret 1899: 43–50 (quotations to be found on pages 43 and 50). Translation: “In a
polished frame, frame of brightly shining gold, having dialogued with your celebrated painting, to
honor this dear gift of the most worthy rival one can see to nature, Madame, with respect, I bend
down low. I beg for an audience to its rare charms, and starting the verses which I owe you the gift
of. And, seeming to agree to my just wishes, here is how I have, beautiful Highness, approximately
recited my caption. Wonderful and charming portrait, famous work by Nocret through which, like
another call, his glory must be immortal. Your divine original, on Saturday gave the ball in her beau-
20 tiful anteroom […]. Madame, here is my caption, for which your obliging portrait finally listened to
with such great attention that I was more than satisfied […].”
33 Ibid., 45.
34 Inventaire 1671, fol. 102.

01) Getreau.indd 20 06/01/2014 21:39

 tive hypothesis: that the painting is a work of the official painter of the Duke and Duchess
of Orléans, and that it is the one that she gave her faithful gazetteer in 1668, two years after
Lambert had composed the air de cour seen in the pretty princess’s hands¬leaving open

A rediscovered portrait of Henrietta-Anne of England

the additional question of what sort of love is hidden within the hand-written songbook
of Lambert’s plus beaux airs de cours, a love that languishes for its mysterious Silvie?35 Could
it refer to Anthony III of Gramont, Count of Guiche? Or even to the king?

2. Henrietta, the arts and the gods

2.1. The music
Sir John Reresby was the first to provide a few details on the princess’ education and tal-
ent. In his Memoirs, first published in 1734 and reprinted in 1813, Reresby describes how
he first met the young lady during his stay in Paris in 1652:36
Besides, speaking the language of that country and dancing passably well, the
young Princess, then aged about fifteen years, used me with all the civil freedom
that might be, made me dance with her, played on the harpsichord to me in her
highness’s chamber, suffered me to attend upon her as she was walked in the gar-
den with the rest of her retinue, and sometimes to toss her in a swing made of a
cable which she sat upon, tied between two trees, and in fine suffered me to be
present at most of her innocent diversions.

A solid musical education was the basis of the ease with which this king’s daughter took
part in her husband’s private music. From 1657, the Duke of Orléans had in his service
Étienne Richard (c. 1621–69), a member of the famous family of organists. Richard was
a violinist and maître joueur d’épinette de la Chambre (he taught the king the harpsichord)
starting in 165737; he became the harpsichordist attached to Madame’s home from 1663. 38
Henrietta’s correspondence with her brother Charles II, king of England, re-
veals that she also practiced singing and playing the guitar. He thus wrote on April 29th,
1660 to his “Dear Minette”:39

Thank you for the song that you have sent me, I do not know if it is pretty, as Jan-
ton has not yet learned it […].

Her taste for airs de cour must have been genuine, as Bertrand de Bacilly dedicated his
Premier livre d’airs in 1662 to her. 40 On May 29th, 1665, Charles II announced that he was
sending guitar studies by Francesco Corbetta to his adored sister:41

35 In the second half of the seventeenth century, particularly the years 1658–61, be it noted, the pretty
Silvie was an incarnation of unreachable love¬evoked over seventeen times in the airs de cour of
composers such as Michel Lambert, Bertrand de Bacilly, Étienne Moulinié, Sébastien Le Camus,
Jean Mignon, and Robert Cambert. See Goulet 2007: 148–280.
36 Reresby 1875: 42–3.
37 Archives nationales, KK 213, fol. 12. Quoted by Dufourcq 1954: 125.
38 Archives nationales, Z1a 519. Dufourcq 1954: 125.
39 Paris, Archives diplomatiques, Archives des Affaires étrangères, Fonds Angleterre (26). Published in
Norrington 1996: 36. 21
40 Bacilly 1662. Versailles, Bibliothèque municipale, Rés. Partition 8° 2 (previously Cortot no. 39). See
Herlin 1995: 11, no. 38.
41 Norrington 1996: 117. For Corbetta, see below.

01) Getreau.indd 21 06/01/2014 21:39

 […] I have here sent you some lessons for the guittar, which I hope will please you;
the Comte de Gramont did carry over with him others, which it may be you have,
and as Francesco makes any more that pleases me, I will send them to you […].
Florence
Charles Robinet was a devout admirer of the king’s sister-in-law. He chose, admittedly
Gétreau
in a chivalrous and obsequious, if not opportunistic approach, to write his bi-monthly
chronicles under the title Lettre en vers à Madame. The first is an excessive, almost extrava-
gant eulogy, but which demonstrates the princess’ growing fame:42

C’est à la Divine Henriette,

A ce grand Astre de la Cour,
Que tu dois écrire en ce jour;
C’est à cette belle Princesse
Que chacun admire sans cesse,
Et qui fait si bien dans ses yeux
Voir qu’elle est du pur Sang des Dieux;
C’est à la Première Madame,
Que joint une sortable Trame, […]
Elle a plus d’esprit que Minerve […]

These rather convoluted chronicles have at least the virtue of highlighting the princess’
musical activities, while asserting her character and her almost divine ascendency. Thus,
on December 12th, 1665, Robinet recounts a concert given by Leonard Ithier, a lute and
viol player, lute master for the choirboys of the Chapel and of the pages of the Chamber
from 1664 to his death in 1722. 43 According to the libretto of Princesse d’Élide, Ithier had
taken part in the sixth interlude of Lully’s Les plaisirs de l’îsle enchantée on May 7th, 1664, 44
along with Jean-Henri d’Anglebert, Estienne Richard (both harpsichordists), Pierre Cha-
banceau de la Barre, Claude Tissu (theorbo) and Antoine Lemoine (bass viol). The lute-
nist’s new fame was confirmed by his invitation to play at Madame’s home. According
to Robinet’s description, only a chosen few, apparently almost all of them women, took
part in this soirée:45

Ne soyez pas, petite Muse,

Ni si folette ni si buse
Qu’en cette Lettre d’oublier

42 Continuateurs de Loret 1881: 7–9. Translation: “It is to the divine Henrietta, to the great star of the
Court, that you must write on this day. It is to this pretty princess that everyone endlessly admires
and who shows so well in her eyes that she is of the pure blood of the Gods. It is to the First Lady that
I include a presentable plot […]. She has more wit than Minerva […].”
43 Benoit 1971: 10 ff and 474; Duron 1986: 41.
44 Jean-Baptiste Lully, Les plaisirs de l’île enchantée […], MS copy by Philidor L’aisné. Paris, Bibliothèque
nationale de France, Rés. F-531, fol. 168r; see Powell 1996: 17.
45 Continuateurs de Loret 1881: 484–85 (Lettre en vers à Madame, December 12th, 1665). Translation: “Do
not be, little Muse, neither foolish nor thick enough to forget in this letter to say that Saturday,
Milord Ithier, while playing nearly divinely before our heroine, made the cords of his instrument
speak so tenderly [in his hands the King of theorbos] that, all together, the celestial orbs could not
22 produce sounds as charming as his sweet humming. I dare say more boldly still that Phoebus with
his lyre spreads much less sweetness in the learned sisters’ ears than Ithier had flowing into those
of Madame and her many beauties who in her ruelle formed a circle of captivating charms. As I was
with these wonders and I was filling my ears, I thought, to speak plainly, that I owed them these
verses.” (For the meaning of ruelle, see below, note 82)

01) Getreau.indd 22 06/01/2014 21:39

 Que, Samedy, le sieur Ithier,
Jouant devant nôtre Héroïne
D’une façons presque divine,
Faisoit parler si tendrement

A rediscovered portrait of Henrietta-Anne of England

Les cordes de son Instrument
[Dans ses Mains le Roy des Théorbes]
Qu’ensemble les célestes Orbes
Ne pourroyent produirent des sons
Si charmans que ses doux Frédons.
J’ose encor plus hardiment dire
Que Phoebus avecque sa Lyre
Distille bien moins de douceurs
Dans l’Oreil des Doctes Sœurs,
Qu’Itier n’en fit couler en celles
De Madame & de maintes Belles
Qui dans sa Ruelle formoyent
Un Cercle d’Appas qui charmoyent.
Comme j’estois à ces Merveilles
Et que j’en remplis mes Oreilles,
J’ay pensé, pour parler sans fard,
Lui devoir ces Vers pour ma part.

A week later, Robinet went on again about a concert given at Her Highness:46

L’aimable et charmante Uranie

Par une fine Symphonie
Et les miracles qu’elle fit,
N’aguére encor vous y ravit;
Que ses Violons, ses Violes,
Qui sembloyent former des Paroles,
Ses Théorbes, ses Clavessins,
Touchez par de maîtresses mains,
Sous ses loix faisoient de merveilles
Pour vos déclicates oreilles
Et que l’on jugeoit aisément,
Dans ce Concert doux & charmant,
Qu’elle, ainsi que toute la Troupe,
Estime avoir le Vent en poupe
Lors qu’elle peut vous divertir,
Et c’est aussi, sans en mentir,
Une Félicité divine
De vous plaire, ô sage Héroïne.

From 1669 on, Leonard Ithier was ordinary musician of the Musique de la Chambre of the
Duke of Orléans: first haute-contre (high tenor voice) until 1688, then singing taille basse
from 1689 to 1699. 47

46 Continuateurs de Loret 1881: 509 (Lettre en vers à Madame, December 20th, 1665). Translation: “The
amiable and charming Urania again ravished you with a fine symphony and the miracles she per-
formed. How her violins, her viols, which seemed to form words, her theorbos and her harpsichords,
23
touched by masterful hands under her laws, made wonders for your delicate ears. And it was easily
judged in this sweet and charming concert that she, as well as all her company, saw her riding high
as she entertained them. And it is also, in truth, a divine bliss to please you, o wise heroine.”
47 See Kocevar 2003: 114 ff.

01) Getreau.indd 23 06/01/2014 21:39

 A testimony of Ithier’s intimacy with the Duke of Orléans and his wife Henrietta
is a delightful fan—Henrietta’s toilette (fig. 23)—that shows in lush detail her bedroom
and furniture, with paintings decorating the walls, and her little cavalier King-Charles
Florence
spaniel wearing his usual red bow around his neck. In all likelihood, Leonard Ithier
Gétreau
himself is comfortably sitting in a high-back chair, with his legs crossed and playing
the theorbo, while Henrietta, in the midst of having her hair done, turns quite naturally
towards him (fig. 24). 48

fig. 23: Anonymous, Henrietta-Anne of England, Duchess of Orléans, at her toilet in the Palais Royal. Fan leaf, c. 1665. Private collection.
Photo: after Cowen 2003

Philippe of Orléans and his wife not only organized receptions in their palace but
also went to listen to (Estienne?) Richard in the Saint-Jacques church, as noted in the
Lettre en vers à Madame, dated January 14th, 1668. 49
Also revealing the respect held by musicians for the musically gifted princess
are several works of great depth dedicated to her after her death. Jacques Champion de
Chambonnières (c. 1601–1672) published his first book of Pièces de clavessin in 1670 and in-
cluded a Courante de Madame, a sublime lamentation in the style of a tombeau (figs. 25–27).50
As Denis Herlin noted in our article on “Portraits de clavecins et de clavecinistes”,51 the
booklet’s title page was not engraved by a member of the Jollain family but by Jean Lep-
autre (1618–82), the author of a beautiful engraving entitled Tombeau de Madame which
frames a sonnet in her memory (fig. 28).52

48 This fan belongs to a private collection. It was displayed at the Fan Museum in Greenwich. Cowen
2003: 78–83.
49 Continuateurs de Loret 1881: 1100. Quoted by Dufourcq 1954: 127.
24
50 Paris, Bibliothèque nationale de France, Département de la musique, Rés. VMB-95(1).
51 Gétreau & Herlin 1996: 96–7.
52 Paris, Bibliothèque nationale de France, Département des estampes et de la photographie, Ed 42b, p.
16. Préaud 1993: 136–37, no. 238.

01) Getreau.indd 24 06/01/2014 21:39

 A rediscovered portrait of Henrietta-Anne of England
fig. 24: Leonard Ithier, theorbist. Detail of fig. 23.
Photo: after Cowen 2003

25

fig. 25: Jean Lepautre, title page to Champion de Chambonnières 1670.

Photo: © BnF

01) Getreau.indd 25 06/01/2014 21:39

 Florence
Gétreau

26

figs. 26/27: Courante de Madame. Champion de Chambonnières 1670: 25–26.

Photo: © BnF

01) Getreau.indd 26 06/01/2014 21:39

 A rediscovered portrait of Henrietta-Anne of England

fig. 28: Jean Lepautre, Tombeau de Madame. Etching, 1670.

Photo: © BnF

27

01) Getreau.indd 27 06/01/2014 21:39

 As for Francesco Corbetta (Francisque Corbett, c. 1615–1681), who was so liked by
Charles II of England and his sister, he flourished in Paris starting in 1670. The year after
he published his Guitarre Royalle dédiée au Roy de la Grande Bretagne (fig. 29),53 which includes
Florence
Le tombeau sur la mort de Madame d’Orléans, a piece of moving solemnity (figs. 30), followed
Gétreau
by Madame’s Sarabande. A vocal adaptation of the latter for three voices accompanied by
the guitar figures at the end of the book (fig. 31). One more Tombeau de Madame is also
preserved, composed by Jacques Gallot (dit le vieux Gallot de Paris, c. 1625–c. 1695; fig. 32).54

fig. 29: Title page to Corbetta 1671.

Photo: © BnF

Unfortunately, the 1671 inventory compiled after the princess’ death fails to mention
any musical instruments or books from her library. Only three volumes have been un-
covered so far: Les Offices de la Semaine saincte (1662),55 Les heureux augures du triomphe de

28
53 Paris, Bibliothèque nationale de France, Département de la musique, Rés. 333.
54 Gallot 1699, fol. 414: “Courante du V. Gallot, Tombeau de Madame”; <http://culture.besancon.fr/
ark:/48565/a011284026247S0XA9H/1/1>, 09/04/2013.

01) Getreau.indd 28 06/01/2014 21:39

 A rediscovered portrait of Henrietta-Anne of England

fig. 30: Le tombeau sur la mort de Madame d’Orléans. Corbetta 1671: 10.
Photo: © BnF

Louis XIV (1665)56 and, finally, a copy of Henry Du Mont’s Motets et Élévations (1670) pub-
lished by Robert III Ballard only after the princess’s death, but bearing her arms57 (fig. 33).

55 The extant copy in Paris, Bibliothèque nationale de France, Rés. B 12615 bears the arms of Henrietta-
Anne of England, Duchess of Orléans. Olivier 1934: pl. 2563 (Fleuron no. 1). 29
56 Cassillac 1665. The extant copy in Chantilly, Condé Library, 1x G 24, bears Henrietta’s arms. Olivier
1934: pl. 2563 (Fleuron no. 2).
57 Paris, Bibliothèque Sainte-Geneviève, Rés VM 18 (1); Guillo 2003: 689.

01) Getreau.indd 29 06/01/2014 21:39

 Florence
Gétreau

fig. 31: Sarabande. Tombeau de Madame. Corbetta 1671: 93.

Photo: © BnF

2.2. The ballet

Practitioner, patron, and protector of musicians, Henrietta also conquered her contem-
poraries by her astounding gifts as a dancer. When she was barely ten years old, she was
chosen to personify Music among the Nine Muses, and thus to dance the role of Erato
in Les noces de Pélée et de Thétis.58 Still extant is the draft of a costume drawn for her in the
workshop of Henri de Gissey (c. 1621–1673; fig. 34):59 In it she holds a small lute in her

30
58 Noces de Pélée et de Thétis, 1654, 1ère entrée du prologue. Benserade 1659: 5 (“Mademoiselle la Prin-
cesse d’Angleterre: Erato”) and 7.
59 Paris, Bibliothèque de l’Institut de France, ms. 1005, fol. 2. Christout 2005: pl. VI, 76, 79, 290. – Ac-

01) Getreau.indd 30 06/01/2014 21:39

 A rediscovered portrait of Henrietta-Anne of England
fig. 32: Courante du V. Gallot, Tombeau de Madame. Gallot 1699, fol. 414.
Photo: © Besançon, Bibliothèque municipale–BM 279152

fig. 33: Arms of Henrietta-Anne of England, Duchess of Orléans,

31
on motet volume by Du Mont [1670].
Photo: © Paris, Bibliothèque Sainte-Geneviève, Nabil Boutros

01) Getreau.indd 31 06/01/2014 21:39

 left hand while a large cloth band at the bottom of her dress is decorated with musical
trophies. This iconography uses the common codes of Cesare Ripa’s Iconologia that were
much employed by seventeenth-century artists. 60
Florence
As Marie-Françoise Christout notes, following her brillants débuts, Henrietta
Gétreau
played an extraordinarily important role after her wedding with the king’s brother.61 Jé-
rôme de La Gorce also rightly asserts that the king, a dancer if ever there was one, “s’était
empressé, au mois de mars 1661, d’établir à Paris une Académie royale de danse […]. Grâce
à cette institution, la qualité des chorégraphies dont la France pouvait s’enorgueillir fut
longtemps assurée et contribua jusqu’en 1670 au succès des ballets où continuait de se
produire Louis XIV”.62 Those ten years, let it be noted, are those during which the young
Henrietta unfurled her charms and her talents at the Court of France. In February 1660,
Sir John Reresby did not fail to notice the great sensation she made by dancing with the
monarch, and that, within the entertainments in the Palais-Royal, she easily surpassed
the queen:63

The Court of France was very splendid this winter (1660); a great mask was danced
at the Louvre, where the King and the Princess Henrietta of England danced to
admiration. But there was a greater resort to the Palais Royal than to the French
Court; the good humour and wit of our Queen Mother, and the beauty of the Prin-
cess her daughter, giving greater invitation than the more particular humour of
the French Queen, being a Spaniard.

From 1661 onwards, the king took pleasure in opening the ball with Madame, be it in
his Château or at the Palais-Royal. 64 Furthermore, Henrietta, in roles specially chosen to
show how close she was to the king, participated in most of the great ballets de court of
that decade, a comprehensive list of which has been drawn up by Philippe Hourcade. 65 In
Le Ballet des Saisons (1661), she represented Diana, and Benserade’s libretto is a transpar-
ent praise of her as Monsieur’s young bride:66

Diane dans les bois, Diane dans les cieux,

Diane enfin brille en tous lieux,
Elle est de l’univers la seconde lumière,
Elle enchante les cœurs, elle éblouit les yeux.

cording to the caption, “les autres huict estoient vestues demesme, distinguées Seulement par les
Couleurs des habits etc.”
60 See Ripa 1643: 185 (“Seconde partie, Musique”): “Elle est couronnée d’une Guirlande de fleurs, &
vestuë d’une Robe toute semée de diverses Notes, dont on se sert ordinairement pour apprendre à
chanter.” Translation: “She is crowned with a garland of flowers and dressed with a robe all sprin-
kled with various notes which are ordinarily used to teach how to sing.”
61 Christout 2005: 168.
62 La Gorce 2002: 415.
63 Reresby 1875: 45.
64 Levantal 2009, vol. 1: June 3rd, 1661; January 19th, 1662; January 31st, 1663; February 2nd, 1663.
65 See Hourcade 2002: 244, for the index of the Court’s dancers.
32 66 Lully 2004: 4. See Christout 2005: 104. Translation: “Diana in the woods, Diana in the skies, Diana
shines in all places. She is the universe’s second light. She charms the hearts, she bedazzles the eyes.
Glorious without being proud, adorable in all ways, one has such good opinion of her virtue that there
is never anything else to add. However, as all must be said, she spends her nights with Endymion.”

01) Getreau.indd 32 06/01/2014 21:39

 A rediscovered portrait of Henrietta-Anne of England

fig. 34: Henri de Gissey (workshop), Henrietta-Anne of England, Duchess of Orléans, in the costume of Erato.
Draft of a costume. on motet volume by Du Mont [1670].
Photo: © Paris, Bibliothèque de l’Institut de France

33

01) Getreau.indd 33 06/01/2014 21:39

 Glorieuse sans être fière,
Adorable en toute manière,
L’on a de sa vertu si bonne opinion
Qu’on ne saurait jamais y trouver à redire;
Florence Cependant puisqu’il faut tout dire,
Gétreau Elle passe les nuits avec Endymion.

The Ballet des Arts, danced on January 8th, 1663 at the Palais-Royal, provided her with the
opportunity to lead four shepherdesses behind the king; once again, Benserade’s libretto
praises her charms and her virtues:67

Quelle Bergere, quels yeux

A faire mourir les Dieux
Aussi comme eux on l’adore
Elle est de leur propre sang
Mais sa personne est encore
Bien au dessus de son rang
[…]
Il est vray tout le monde l’aime
Mais apres son devoir, ses moutons et son chien
Je pense qu’elle n’ayme rien.

After having led the shepherdesses, she played Pallas in the seventh entrée, having “la dig-
nité, La Pompe, Les Richesses / L’Eclat de la personne et la Splendeur du nom / Et tout ce
qui convient aux premières Déesses […] C’est Pallas […] qui cache sa fierté sous beaucoup
de douceur / Et sans en affecter la redoutable mine / Elle en a les vertus, l’esprit, le noble
cœur.”68 Given the intricate game of mirrors understood by all, there is no better way to
pay homage to the princess’ intelligence and moral qualities.
On January 26th, 1665, she played the role of Venus in the Ballet royal de la naissance
de Vénus.69 The Ballet de Madame, a thinly-veiled homage to the king and his sister-in-law,
was danced at the Palais-Royal. As Bensérade’s libretto states:70

Les plus célèbres Heros de la terre avec Heroïnes, dont ils sont espris, font con-
noistre que l’Amour est la plus noble de toutes les passions […] Ce sujet estoit ca-
pable d’une plus grande estenduë; mais le lieu où il se représente ne le souffrant

67 Benserade 1663a: 9 et 10. Paris, Bibliothèque nationale de France, Rés. F-525. Translation: “What a
shepherdess, what eyes that could kill the Gods. Thus like them we adore her. She is of their own
blood, but her person is even better than her rank […]. It is true, everyone loves her. But besides her
duty, her sheep and her dog, I believe that she loves nothing else.”
68 Translation: “the dignity, the pomp, the riches, the sparkle of her person and the splendor of the name
and all that befits the first Goddesses […] It is Pallas […] who hides her pride beneath layers of sweet-
ness. And without pretending to wear its fearsome look, she had her virtues, her wit, her noble heart.”
69 Schneider 1981: LWV, no. 27; Christout 2005: 115–16; La Gorce 2002: 418–19.
70 Benserade 1665: 6–7. Paris, Bibliothèque nationale de France, Rés YF-1037. Translation: “The most
famous heroes on earth and the heroines whom they fancy let us know that love is the noblest of all
passions […]. This subject was capable of the widest scope; but as the place in which it is held could
not suffer it, Madame to whom the King had given the command, has judged it fit to enclose it in
34 twelve entrées: those who know the beauty of this admirable princess’s mind will easily judge that
the most agreeable inventions are due to her. She ordered the Duke of Saint Aignan to use his skill;
both from the nice gallantry that is natural to her as from his office’s function, it therefore belongs
to him to organize celebrations of this quality that the King honors with his presence.”

01) Getreau.indd 34 06/01/2014 21:39

 pas, madame a qui le Roy en a laissé la conduite, a jugé à propos de le renfermer
en douze Entrées: Ceux qui connoissent la Beauté de l’Esprit de cette admirable
Princesse, jugeront aisément que les plus agreables inventions luy en sont deuës.
Elle a ordonné au Duc de S. Aignan d’y employer ses soins; aussi luy appartient-il

A rediscovered portrait of Henrietta-Anne of England

autant par la belle galanterie qui luy est naturelle, que par la fonction de sa Charge
de regler les Festes de cette qualité, que le Roy honnore de sa presence.

Henrietta’s involvement can hardly be overstated, whether in the danced or sung parts
of this show. She is at once Venus, listening to the Three Graces (second part) to Michel
Lambert’s famous tune71, and, later on, Roxane before the king when he dances as Alex-
ander in the sixth entrée:72

Il n’est rien de si doux, ni rien de si charmant,

Que le plus malheureux la regarde un moment
C’est un moment pour luy d’allegresse & de feste:
Elle mesme copie Alexandre le Grand,
Elle entasse toujours conqueste sur conqueste,
Et ne veut rien garder de tout ce qu’elle prend.

Catherine Massip has shown, in all its details, Lambert’s admirable musical refinement
and his mastery of the dramatic art in his touching tale of the Récit des Trois Grâces. 73
After the Ballet de Villers-Cotterêts (September 25th, 1665) the king and Madame
were again central to Benserade’s and Lully’s Ballet des Muses, performed on December
2nd, 1666, in Saint-Germain.74 Madame was alternatively a shepherdess (protected from
the wolves by her little dog Mimy), a Spaniard, a Pieride, and even a Moor facing the
dangerous force of the king’s eyes and his “ardans rayons [des] Soleils d’Afrique”.75
Though she was to shine again in the 1669 carnival ballet, Henrietta could not
know that she would never again have the opportunity to dance at the Court and with
the king. Indeed, for the Ballet royal de Flore dansé par Sa Majesté le mois de février 1669,76 the
Duchess of Sully danced “en la place de Madame”. As Benserade argues, “Madame, qu’un
heureux accident a empêché d’y remplir le personnage de Flore, est la seule qui reste à
désirer pour la perfection de ce spectacle”.77 Rehearsals, however, had gone on for almost
two months.78 A year later, when Madame had left this world, Jean Nocret was finishing
his big commemorative painting of the family of Louis XIV in mythological disguise,

71 “Admirons notre jeune et charmante déesse, Parlons de sa beauté, parlons de son esprit.” Translation:
“Let us admire our young and charming goddess, let us speak of her beauty, let us talk of her spirit.”
72 Translation: “There is nothing as sweet or anything as charming. Let the saddest one look at her for
a moment. It is for him a moment of joy and celebration: She herself copies Alexander the Great, she
piles conquest upon conquest and desires to keep nothing of all she takes.”
73 Massip 1999: 211–13.
74 Schneider 1981: LWV, no. 32. Christout 2005: 117–20.
75 On the symbolic importance of dancing for the king, see Néraudau 1986: 119–26.
76 Schneider 1981: 163 (LWV, no. 40).
77 Translation: “Madame, who was prevented by a happy accident from playing Flora’s character, is the 35
only one still to be desired to make this show perfect.” – Schneider 1981: 161 (LWV, no. 40). Henrietta
was about to give birth to her second daughter.
78 La Gorce 2002: 419; Christout 2005: 123.

01) Getreau.indd 35 06/01/2014 21:39

 presented as the assembly of the Gods of Olympus in mythological clothing (fig. 35).79
It is impossible not to think that he purposely chose to represent her as gracious Flora
in the midst of the Gods ( fig. 36)—precisely the role that she should have danced in the
Florence
Ballet de Flore. Painted for the Saint-Cloud château, this monumental group portrait is a
Gétreau
kind of legacy on behalf of the painter who had worked so frequently for Monsieur and
Madame since their wedding.

fig. 35: Jean Nocret, The family of Louis XIV in mythological disguise. Oil on canvas, 1670.
Versailles, Châteaux de Versailles et de Trianon.Draft of a costume. on motet volume by Du Mont [1670].
Photo: © RMN

However, one portrait more than any other summarizes the pre-eminent role the
princess embodied for the sciences and the arts: it is the one from 1664 representing her
‘en Minerve’,80 holding the medallion portrait of her famous husband, Duke Philippe
of Orléans (fig. 37). Thanks to this rather theatrical representation, its painter, Antoine
Matthieu the Elder (1631–73), became a member of the Academy. He rendered Henrietta
surrounded by the symbols of the arts, notably a clearly visible lyre and scroll represent-
ing the art of music in general and of singing in particular, as well as a bust reminiscent
of the Belvedere torso, a palette standing for the art of painting, a compass for the ar-
chitect’s proportions and a celestial globe for astronomy.81 A lute and a viol can be made
out in the background. We are reminded of how Charles Robinet, in his Première lettre
à Madame in May 1665, had insisted almost over-emphatically that she was the Court’s

36 79 Versailles, Châteaux de Versailles et de Trianon, MV 2157. Bajou 1998: 124–25.

80 See Goodman 2008, chapter 4: 75–90 (particularly 83–87): “Making Modern Minervas: Anne of Aus-
tria and Henriette d’Angleterre”.
81 Versailles, Châteaux de Versailles et de Trianon, MV 3503. Peintres du roi 2000: 226, R. 38.

01) Getreau.indd 36 06/01/2014 21:39

 A rediscovered portrait of Henrietta-Anne of England

37

fig. 36: Henrietta-Anne of England, Duchess of Orléans, as Flora. Detail of fig. 35.
Photo: © RMN

01) Getreau.indd 37 06/01/2014 21:39

 Florence
Gétreau

fig. 37: Antoine Matthieu the Elder, Henrietta-Anne, Duchess of Orléans, presenting the portrait of her husband, Duke Philippe of
Orléans. Oil on canvas, 1664. Versailles, Château de Versailles et de Trianon.
Photo: © RMN, Gérard Blot

star (“grand Astre de la Cour”), that she was of the pure blood of the gods (“du pur Sang
des Dieux”), and that she had more wit than Minerva (see above, note 42).

2.3. The arts

Robinet, so often grateful for his own fortunes, was of course aware of what men of arts
owed to Madame:82

38
82 Continuateurs de Loret 1899: 370 (Lettre en vers à Madame, December 22nd, 1668). Translation: “The
Molières and the Boyers, the Corneilles, the Benserades, so worthy of immortal rents and great com-
rades of Apollo. All the most brilliant authors tremble as they bring their talents to the famous pol-

01) Getreau.indd 38 06/01/2014 21:39

 Les Molières et les Boyers
Les Corneilles, les Benserades,
Si dignes d’immortels loyers,

A rediscovered portrait of Henrietta-Anne of England

Et d’Apollon grands camarades,
Tous les auteurs les plus brillants
Tremblent en portant leurs talents
Au fameux polissoir de sa belle ruelle.

Certainly, eminent artists did not hesitate to ask for her protection: Molière dedicated
L’École des Femmes to Madame and noted that “it is not hard to praise her”:83 (“On n’est pas
en peine […] pour [la] louer”):

De quelque côté qu’on vous regarde, on rencontre gloire sur gloire, et qualités sur
qualités.Vous en avez, Madame, du côté du rang et de la naissance, qui vous font
respecter de toute la terre.Vous en avez du côté des grâces, et de l’esprit et du corps,
qui vous font admirer de toutes les personnes qui vous voient. Vous en avez du
côté de l’âme, qui, si l’on ose parler ainsi, vous font aimer de tous ceux qui ont
l’honneur d’approcher de vous: je veux dire cette douceur pleine de charmes, dont
vous daignez tempérer la fierté des grands titres que vous portez; cette bonté tout
obligeante, cette affabilité généreuse que vous faites paraître pour tout le monde.

Guilleragues, soon to be famous for his Letters of a Portuguese Nun, received her patronage
beginning in 1666. And two years later, Racine, in his dedicatory epistle to Andromaque,
praised the personal involvement she seems to have had from the start of his work:84

On savait que Votre Altesse Royale avait daigné prendre soin de la conduite de ma
tragédie; on savait que vous m’aviez prêté quelques-unes de vos lumières pour y
ajouter de nouveaux ornements: on savait enfin que l’aviez honorée de quelques
larmes dès la première lecture que je vous en fis. […]. Mais, Madame, ce n’est pas
seulement du cœur que vous jugez de la bonté d’un ouvrage, c’est avec une intel-
ligence qu’aucune fausse lueur ne saurait tromper. […]. Et pouvons-nous concevoir
des sentiments si nobles et si délicats qui ne soient infiniment au-dessus de la no-
blesse et de la délicatesse de vos pensées?

How surprising could it be, then, that her death provoked so many funeral orations, so
many musical tombeaux, such devotion? Without a doubt, the likes of Feuillet, Bertier

ishing sessions in her nice ruelle.” (Ruelle¬literally a ‘small street’¬is the bedroom of the précieuses
where erudite meetings were welcomed [see Goodman 2008, chapter 3: “Ruminating on the Ruelle:
The Précieuses, Bosse, and Molière”]. Within such a context, hommes de lettres would use meetings with
Henrietta in order to improve their most recent works before having them printed or performed.)
83 Molière 2010: 395–96 (L’École des Femmes, ‘A Madame’). Translation: “From whatever side we look at
you, we meet glory upon glory, and qualities upon qualities. You have some, Madame, from rank and
birth that make you respected the world over. You have some, in the shape of graces of the mind and
the body, that have you admired by any person who sees you. You have some from the soul which,
if one can say so, makes you loved from all those who have the honor to approach you: I want to say
the kindness full of charms with which you deign temper the pride of the grand titles you hold; that
obliging goodness, that generous affability which you show to all.”
84 Goulet 2004: 469. Translation: “We knew that Your Royal Highness had deigned to care about my
tragedy’s development; we knew that you had given me a few of your insights to add new orna-
39
ments: and well we knew that you had honored it of a few tears from the first reading I made of it
to you. […]. But, Madame, it is not only with your heart that you judge a work’s quality, it is with an
intelligence which no false flicker can mislead. […]. And is it even conceivable that any such noble
and delicate feelings be above the nobleness and delicateness of your thoughts?”

01) Getreau.indd 39 06/01/2014 21:39

 Florence
Gétreau

fig. 38: Jean Lepautre (after Henry de Gissey), Obsequies and catafalque of Henrietta-Anne of
England, Duchess of Orléans, in the Basilica Saint-Denis, August 21st, 1670.
Engraving, 1670.
Photo: © BnF

and Le Maire fell far short of reaching the rhetorical heights of Jacques-Bénigne Bossuet’s
grandiloquent funeral oration:85

ô nuit désastreuse! ô nuit effroyable, où retentit tout à coup, comme un éclat de

tonnerre, cette étonnante nouvelle: Madame se meurt! Madame est morte!

For the formal funeral service held in the Basilica of Saint-Denis on August 21st, 1670,
Henrietta’s mausoleum (for which we still have an engraving from Jean Lepautre after
a drawing by Henry de Gissey86) was notably made up of four allegorical figures repre-

85 Bossuet 1699: 121 (“oraison funèbre de Henriette Anne d’Angleterre, duchesse d’Orléans. Prononcée
40 a Saint Denis le 21. jour d’Aoust 1670”). Translation: “O disastrous night! O dreadful night in which
suddenly like a thunderbolt resounds with this surprising news: Madame is dying! Madame is dead!”
86 Paris, Bibliothèque nationale de France, Département des estampes et de la photographie, Rés. Fol.
Qb-201 (50), coll. Hennin 4544. Préaud 1993: 136, no. 237.

01) Getreau.indd 40 06/01/2014 21:39

 senting Nobleness, Youth, Poetry and Music (fig. 38), clad as nymphs crowned by laurels
with books and instruments lain at their feet. A now lost grand motet by Henry Du Mont
(1610–84), De profundis, was probably played. 87 Numerous pages were written for this im-

A rediscovered portrait of Henrietta-Anne of England

pressive display of grief. But men of letters will rather remember “Cet Esprit admiré des
Maistres du Sçavoir,” lauded by the Tombeau engraved by Jean Lepautre (see above, fig. 28),
while musicians will prefer Chambonnières’ beautiful melodies (see above, figs. 26/27).


In a study entitled “Portrait historié et morale du Grand Siècle”, Dominique Brème un-
locks the persistent identification of members of the Royal family with the Greek gods
through a constantly represented, renewed and experienced rhetorical discourse:88

Que pouvait bien signifier, pour un homme du Grand Siècle, la fantaisie de se

faire peindre avec les attributs d’Apollon ou de Neptune, et pour une femme de
paraître sous les traits de Vénus ou de sainte Catherine?

In the case of Henriette, could one add representations as Silvie (see above, note 35),
Erato, Diana, Pallas, Urania, Minerva or Flora? Brème points out that the highest ranking
characters are represented as gods, which brings up the question of what Roger de Piles,
in his L’Idée du peintre parfait (1699) called “[la] représentabilité des choses divines sous
des figures humaines”:89

Car les fausses Divinités peuvent être considérées de deux manières, ou comme
Dieux, ou comme figures symboliques. Comme Dieux, le Peintre ne les peut
représenter que dans les sujets purement profanes, ou il en est question en cette
qualité; & comme figures symboliques, il peut s’en servir avec discrétion en toute
autre rencontre comme il jugera nécessaire.

Beyond the use of codes and other norms, Henrietta appears to have been a kind of con-
stantly renewed incarnation of allegories in the tradition of the Rhétorique des Dieux.90 She
amplified Louis XIV’s image as the kingdom’s foremost musician, as a protector of the
arts, and even as the very symbol of the arts. She thus brilliantly contributed to the royal
family’s splendor, the splendor of a great reign and of the entire nation.

87 Decobert 2011, chapter XI-1: 253–65.

88 Brème 1997: 91 ff. Translation: “What could signify, for a man of the Great Century, the fancy to be
portrayed with Apollo or Neptune’s symbols and, for a woman to appear with Venus or Saint Cath-
erine’s features? ”
89 Brème 1997: 94. Translation: “For the false divinities can be considered in two ways, either as Gods
or as symbolic figures. As gods, the Painter can only represent them in purely profane subjects in 41
which they are treated as such; & as symbolic figures, he can use them at will in any other circum-
stance he will judge necessary.”
90 See Buch 1990 and Gautier 1991.

01) Getreau.indd 41 06/01/2014 21:39

 Bibliography

Florence Primary Sources

Gétreau
Bacilly, Bertrand de
1662 Premier livre d’airs gravez par Richer dédié à son Altesse Royale Madame. Paris: rue des Petits
Champs.
1666 Nouveau recueil des plus beaux airs de cour. Contenant plusieurs gavottes, bourées, gigues,
vilanelles, courantes, sarabandes, menuets, entrées de ballet, & autres chansons nouvelles du
temps, de différents autheurs. Première partie. Paris: Estienne Loyson.
Benserade, Isaac de
1659 Les Nopces de Melée et de Thetis. Comedie Italienne en Musique, entre-meslée d’un Ballet sur le
mesme sujet, dansé par sa Majesté. Paris: Robert Ballard.
1663a Ballet des Arts. Dansé par sa Majesté l’an 1663.
1663b Ballet des muses dansé par sa Majesté à son Chasteau de S. Germain en Laye le 2 Decembre 1666.
Paris: Robert Ballard.
1665 Ballet royal de la naissance de Vénus: dansé par sa Majesté, le 26 de janvier 1665. Paris: Robert
Ballard.
Bossuet, Jacques-Bénigne
1699 Recueïl des Oraisons funèbres prononcées par Messire Jacques Benigne Bossuet. Paris: Grégoire
Dupuis.
Cassillac, Jean-Baptiste de
1665 Les heureux augures du triomphe de Louis XIV. Paris: chez Gilles Tompère.
Champion de Chambonnières, Jacques
1670 Les Pièces de clavessin. Paris: Jollain.
Corbetta, Francesco
1671 La Guitarre Royalle. Paris: Bonneüil.
Du Mont, Henry
[1670] Motets, et Élévations de M. Du Mont. Pour le quartier de Iuillet, Aoust, & Septembre 1670. Paris:
Robert III Ballard.
Gallot, Jacques
1699 Pièces de luth et de théorbe. MS copy by Vaudry de Saizenay, 1699. Besançon, Bibliothèque
municipale, notice 366.
Inventaire
1671 Inventaire après le décès de Madame Henriette Femme de Mr en 1671 (MS). Archives nation-
ales, 300 ApI 750 (Archives de la maison de France, branche d’Orléans, fonds de Dreux).
La Fayette, Marie-Madeleine Pioche de La Vergne, comtesse de
1720 Histoire de Madame Henriette d’Angleterre Première Femme de Philippe de France Duc d’Orléans,
Par Dame Marie de La Vergne comtesse de La Fayette. Amsterdam: Michel Charles Le Cène
[modern edition by Gilbert Sigaux. Paris: Mercure de France, 1988].
Lambert, Michel
1689 Airs de M. Lambert à 1, 2, 3 et 4 parties. Paris: Christophe Ballard.
Office de la Semaine saincte
42
1662 Office de la Semaine saincte. Paris: Librairie associée.
Ripa, Cesare
1643 Iconologie ou les principales choses qui peuvent tomber dans la pensée touchant les Vices et les
Vertus. Paris: I. Baudouin.

01) Getreau.indd 42 06/01/2014 21:39

 Secondary Sources

Bajou, Thierry
1998 La peinture à Versailles. XVIIe siècle. Paris: Réunion des Musées Nationaux, Buchet Chastel.

A rediscovered portrait of Henrietta-Anne of England

Benoit, Marcelle
1971 Musiques de cour: chapelle, chambre, écurie (1661–1773). Paris: Picard (La vie musicale en
France sous les Rois Bourbons 20).
Brème, Dominique
1997 “Portrait historié et morale du Grand Siècle.” Visages du Grand Siècle: le portrait français
sous le règne de Louis XIV, 1660–1715. Exhibition catalogue, Nantes: Musée des Beaux-Arts,
Toulouse: Musée des Augustins. Paris: Somogy: 91–106.
Buch, David J.
1990 “The Coordination of Text, Illustration, and Music in a Seventeenth-Century Lute
Manuscript: La Rhétorique des Dieux.” Imago Musicae 6: 39–81.
Christout, Marie-Françoise
2005 Le ballet de cour de Louis XIV. 1643–1672. Mises en scène. Paris: Picard, Centre de la Danse (La
vie musicale en France sous les rois Bourbons 34).
Constant, Claire
1995 Musée national du château de Versailles. Les peintures. Versailles: Château de Versailles,
Paris: Réunion des Musées Nationaux.
Continuateurs de Loret
1881–99 Les continuateurs de Loret. Lettres en vers de La Gravette de Mayolas, Robinet, Boursault, Perdou
de Subligny, Laurent et autres. Ed. by James de Rothschild (vol. 3 by Émile Picot). 3 vols.
Paris: Morgand & Fatout.
Cowen, Pamela
2003 A Fanfare for the Sun King. Unfolding Fans for Louis XIV. London: The Fan Museum, Third
Milennium Publishing.
Decobert, Laurence
2011 Henry Du Mont (1610–1684). Maistre et compositeur de la Musique de la Chapelle du Roy et de la
Reyne. Wavre: Mardaga, Versailles: Centre de musique baroque de Versailles.
Dufourcq, Norbert
1954 “Notes sur les Richard, musiciens français du xviie siècle.” Revue de musicologie 36: 116–33.
Duron, Jean
1986 “L’orchestre de Marc-Antoine Charpentier.” Revue de musicologie 72: 23–65.
Dussieux, Louis, et al.
1854 Mémoires inédits sur la vie et les ouvrages des membres de l’Académie royale de peinture et de
sculpture. Publiés d’après les manuscrits conservés à l’École impériale des Beaux-Arts.
Paris: J.-B. Dumoulin.
Gaultier, Denis
1991 La Rhétorique des dieux, c. 1652. Fac-similé du manuscrit du Kupferstichkabinett, Berlin, 78 c
12. Introduction: François Lesure. Genève: Minkoff.
Gétreau, Florence
2012 “J’avais déjà passé près d’un jour sans la voir. Un portrait inédit d’Henriette-Anne
d’Angleterre en musicienne.” Noter, annoter, éditer la musique. Mélanges offerts à Catherine
Massip. Ed. by Cécile Reynaud and Herbert Schneider. Paris: Bibliothèque nationale de 43
France, Genève: Librairie Droz: 31–55, 729–36 (pll.).
Gétreau, Florence, et Denis Herlin
1996 “Portraits de clavecins et de clavecinistes français.” Musiques – Images –Instruments 2:
88–114.

01) Getreau.indd 43 06/01/2014 21:39

 Goodman, Elise
2008 The Cultivated Women. Portraiture in Seventeenth-Century France. Tübingen: Gunter Narr
Verlag (Biblio 17).
Florence Goulet, Anne-Madeleine
Gétreau
2004 Poésie, musique et sociabilité. Les Livres d’airs de différents auteurs publiés chez Ballard de 1658
à 1694. Paris: Champion (Lumière classique 55).
2007 Paroles de musique (1658–1694). Catalogue des “Livres d’airs de différents auteurs”publiés chez
Ballard. Wavre: Mardaga (Études du Centre de Musique Baroque de Versailles).
Guillo, Laurent
2003 Pierre I Ballard et Robert III Ballard. Imprimeurs du roy pour la musique (1599–1673). 2 vols.
Wavre: Mardaga.
2004 Les recueils de vers mis en chant (1661–1680); dépouillement de dix-huit sources connues. Ver-
sailles: Éditions du Centre de musique baroque de Versailles (Cahiers Philidor 28).
Herlin, Denis
1995 Catalogue du fonds musical de la Bibliothèque de Versailles. Paris: Éditions Klincksieck (Pub-
lications de la Société Française de Musicologie II, 14).
Hourcade, Philippe
2002 Mascarades et ballets au Grand Siècle (1643–1715). Paris: Éditions Desjonquères / Centre
national de la danse (La mesure des choses).
Kocevar, Érik
2003 États de la France (1644–1789). La Musique: les institutions et les hommes. Paris: Picard (La vie
musicale en France sous les rois Bourbons: Recherches sur la musique française classique 30).
La Gorce, Jérôme
2002 Jean-Baptiste Lully. Paris: Fayard.
Levantal, Christophe
2009 Louis XIV. Chronographie d’un règne […]. 2 vols. Gollion (CH): Infolio éditions.
Lully, Jean-Baptiste
2004 Œuvres complètes, Sér. 1: Ballets et mascarades, vol. 6: Le ballet des saisons. Ed. by James P.
Cassaro. Hildesheim etc.: Olms.
Massip, Catherine
1995 “Le mécénat musical de Mademoiselle.” Papers on French Seventeenth Century Literature
22, no. 42: 79–90.
1999 L’Art de bien chanter: Michel Lambert (1610–1696). Paris: Société française de musicologie
(Publications de la Société Française de Musicologie III, 6).
Molière
2010 Œuvres complètes. Vol. 1. Ed. by Georges Forestier, avec Claude Bourqui. Paris: Gallimard
(Bibliothèque de la Pléiade 8).
Néraudau, Jean-Pierre
1986 L’Olympe du Roi-Soleil: mythologie et idéologie royale au Grand siècle. Paris: Les Belles lettres.
Norrington, Ruth
1996 My dearest Minette. The letters between Charles II and his sister Henrietta, the Duchesse
d’Orléans. With a Commentary by Ruth Norrington. London & Chester Springs: Peter
Owen.
44 Olivier, Eugène et al.
1934 Manuel de l’amateur de reliures armoriées françaises. Paris: C. Bosse.

01) Getreau.indd 44 06/01/2014 21:39

 Peintres du roi
2000 Les peintres du roi. 1648–1793. Exhibition catalogue. Tours: Musée des Beaux-Arts, Tou-
louse: Musée des Augustins. Paris: Réunion des Musées Nationaux.

A rediscovered portrait of Henrietta-Anne of England

Powell, John S.
1996 “Musical Practices in the Theater of Molière.” Revue de musicologie 82: 5–37.
Préaud, Maxime
1988 Inventaire du fonds français. Graveurs du XVIIe siècle. Vol. 17: Claude Mellan. Paris: Biblio-
thèque Nationale.
1993 Inventaire du fonds français. Graveurs du XVIIe siècle. Vol. 11/1: Antoine Lepautre, Jacques Le-
pautre et Jean Lepautre. Paris: Bibliothèque Nationale.
Reresby, John
1875 The Memoirs of Sir John Reresby. 1634–1689. Written by himself. Edited from the original
manuscript by James J. Cartwright. London: Longmans, Green & Co.
Schneider, Herbert
1981 Chronologisch-thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully (LWV).
Tutzing: Schneider (Mainzer Studien zur Musikwissenschaft 14).

45

01) Getreau.indd 45 06/01/2014 21:39

01) Getreau.indd 46 06/01/2014 21:39